The New Yorker evolves storytelling with longform documentaries

The New Yorker is evolving its approach to storytelling by integrating longform documentaries into its content strategy, aiming to broaden its engagement and appeal to a younger audience. This is being orchestrated by Paul Moakley, the executive producer, and Sarah Lash, the vice president of acquisitions at parent company Condé Nast, who are responsible for deciding which documentaries are produced, acquired, and shared across various platforms, including the magazine itself and its YouTube channel, which has amassed one million subscribers.

“A big part of our future is movement and visual storytelling — people see before they read,” Moakley told The Hollywood Reporter in a recent interview. Both he and Lash aim to craft engaging narratives that resonate with the public’s preference for video content. Lash, who has a background in indie film, added, “What Paul and I come back to again and again is, ‘What’s a truly fresh take on something that’s part of the vernacular?’”

The New Yorker has demonstrated significant success in the documentary short category, being nominated for the Academy Awards six times in the past nine years, with a total of 15 short documentary nominations. Despite this track record, it has yet to secure a win, a victory being seen as a crowning achievement that would signify the magazine’s impactful contributions to the genre.

The shorts produced, such as “Seat 31,” which features Montana State Representative Zooey Zephyr, and “Eternal Father,” about a father contemplating cryonic preservation, highlight diverse and often poignant stories that align with the magazine’s intellectual heritage. David Remnick, the editor of The New Yorker, articulated the synergy between documentaries and the publication’s brand when he stated, “The same readers who are eager for Patrick Radden Keefe’s next investigation also appreciate a brilliantly crafted documentary film.”

Lash has observed a shift in audience preference towards longer documentary formats; what initially capped the running time at six minutes has now seen extensions to as much as 40 minutes. Economic considerations remain pivotal as well, with ad revenues on YouTube playing a crucial role in supporting production costs.

The magazine engages in multiple monetisation strategies beyond ad revenue, including aligning documentary content with Condé Nast’s film and television division. This strategy allows developed shorts to find life beyond their original format and potentially reach new audiences through various distribution channels.

In response to competition from major streaming platforms like Netflix, The New Yorker is also capitalising on its brand recognition to attract viewers, particularly younger demographics aged 18 to 34 who tend to consume video content initially. Lash noted that there exists a hope that these films evoke enough interest to convert viewers into subscribers.

In addition, The New Yorker leverages its robust social media presence, particularly on Instagram, where it has nearly nine million followers, to promote its films and generate conversation. Directors often engage with audiences directly in the YouTube comment sections post-release, creating an interactive experience for viewers.

Moakley and Lash both acknowledge that the transition from traditional text-based journalism to video is complex and evolving, stating, “It’s a shifting landscape and we’re all struggling to figure out how to move the chess pieces and make the business work.” The New Yorker’s documentary division exemplifies a commitment to exploring new avenues for content distribution in a rapidly diversifying media environment, demonstrating that adaptability is key to thriving amidst changing audience behaviours and preferences.

Source: Noah Wire Services